Notes From Review

Alex:

-How do spaces recall memories? Look at matching and creating reoccurrences trough tactility.
-Why these specific program fragments?
-What is a night club program, and how does it relate in section with the apartments, how are perceptions specifically overlapped.
-Look more closely at the solitary nature of a house as apposed to its more public and active parts.
-The idea of the night club as middle condition, a threshold, between the subway and the house needs to be considered more carefully. The connections between the elements should be looked it more carefully.
-How are Past, Present and Future included in this? How specifically does the memory palace lead to new stories and new itineraries, what elements are crucial for this.
-the Parti Wall (a pun) as a mediator, how do the three subjects mediate.
-Think about how a subway can be both a nightclub and a home – how else can the programs overlap to different users.
-Back out – what needs to be the sequence, what sequence makes a house? Rest-Move-Move-Rest-Move…. How can they be overlapped at different times?
-Look a house party, do the rooms mix
-Look at section, do the programs cross - even if only a glimpse across a light well – what are the narratives to the programs
-What makes a house a house or a nightclub a night club?
-The influence of other scales should be addressed – the juxtaposition of inside and out – and the differing energy levels
-The program of a House/Apartment might work better as a hotel as it relates to the different degrees of transience on a scale more closely related to that of a subway and nightclub (people often live in hotels for lengthy periods of time)
-what it the relation of the people who work in the different programs, they experience the spaces in a more less transient and more permanent state
-To get into the building design you need to jump – think about using the memory map more abstractly to reach an architectural proposal
-clarify and develop a tectonic language of light and texture and how they knit together in sequence.

Jon:

-You use specific operations - but they are ungraspable – you need to specify narratives and artifacts
-Your layered drawing evoke – multiple simulations, narratives, and spaces but they are never realized
-Look at the Freud’s Stages of Dream Work – non-linear layers in the subconscious – and tie them into performative acts.
-what are literal operations as apposed to physical operations.
-The project needs to move out of the metaphorical to the architectural.
-according to your drinking buddy Lex you are “in danger of being too clever, and I don’t mean ‘real’ clever.” But you already know this.
-You need to make a make a set of rules for yourself (spatial and architectural) – use narratives to help create these rules.
-the project is not only a metaphor but the space it occupies.
-you need to test reality
-clarify and simplify your concepts
-think about using a part of Grants tomb and its rules to inflect upon your bar without using the tomb itself.
-Look at and propose other schemes, displacing the bar, inside/outside, above/below, wrapping.
-You need to analyze the tomb more – how do people currently interact with it (do they?)

I don’t have as complete a set of notes for the rest of the class, but we can talk in person when working in studio.